Since the harmonica was invented in the 19th century, harmonica designers and players alike have tried to improve and amplify the instrument's sound. Typically these attempts have focused on the diatonic harmonica, which is designed to play a single major scale in what is known as first position, while other scales or portions of scales, in both major and minor modes, can be played in second, third, fourth position, etc.
The modern diatonic harmonica somewhat like the one depicted in U.S. Pat. No. 367,877 to Hayashi and assigned to Tombo Musical Instrument Company. The typical diatonic harmonica consists of a comb, two reed plates on either side of the comb, and cover plates on either side of the reed plates. Such a configuration is depicted in FIG. 1 of U.S. Pat. No. 6,359,204 to Antaki.
Various aspects of the harmonica design affect its sound and performance. For example, combs can be made of wood, plastic, or solid metal like brass or aluminum. The shape and material of the cover plates can also be significant. So, too, can the sealing of the reed plates on the comb and the sealing of the cover plates.
Various attempts have been made to improve and amplify the sound of a diatonic harmonica. U.S. Pat. No. 752,295 to Messner depicts a pair of tapered cover plates that form a horn-like opening on one end of the harmonica. A variation on the Messner harmonica appears in U.S. Pat. No. 712,380 to Hohner, where the cover plates are formed into one integral piece and bulged into the form of a cup at the backside of the harmonica. In Hohner, the cover or resonance chamber extends an appreciable distance beyond the bottom of the reed plates and is pear shaped in transverse section.
More recently, Antaki, in U.S. Pat. No. 6,291,751 describes a single cover structure or enclosure that surrounds the harmonica, which is purported to enhance the harmonica tone and increase the loudness of the sound produced by the harmonica. Antaki discloses single-piece and multi-piece enclosures. Hohner previously manufactured a harmonica called the Trumpet Call. These harmonicas each included multiple horn portions attached to a single diatonic harmonica. Thus, if a harmonica player desired a horn to modify the sound of his diatonic harmonica, he would still need a different harmonica with permanently mounted horns for each key.
Prior to Antaki, Adamitis, in U.S. Pat. No. 4,091,703, disclosed a shaped hollow resonating horn slidably mounted to the harmonica. The horn was sized to enclose one or more outlet holes of the harmonica, and slid along a groove on the outside of the harmonica to fit over a selected group of adjacent outlet holes associated with specific reeds for specific notes. According to Adamitis, his invention produced an echo of a desired musical cord when the harmonica was played.
Unrelated to efforts to improve and amplify harmonica sounds, various devices have been used with the harmonica to secure it in place. Most notable are the types of harmonica mounts or braces used by guitar players who simultaneously play the harmonica and the guitar, including well-known musicians like Bob Dylan or Neil Young. Other harmonica holders are described in patents such as U.S. Pat. No. 4,397,213 to Hubbard, for a harmonica holder and shroud used to clamp a harmonica to a microphone. Another such harmonica holding device is described in U.S. Pat. No. 4,739,686 to Doll. The holder includes a base portion adapted to be attached to a neck harness, and also includes two struts that terminate in narrow lateral spaces at the ends of the holder to secure the ends of the harmonica.
Despite the various attempts in the prior art, there remains a need for a device that can provide an amplified and warmer tone for the harmonica. There also remains a need for such a device from which the harmonica can be easily mounted and removed and yet which remains stationary relative to the harmonica while the harmonica is being played and provides amplified and improved tone for all of the notes of the harmonica.